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Books on the topic 'Expressionism – cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Forme dell'espressionismo nel cinema. Aracne, 2009.

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2

Bertetto, Paolo. Incontro ai fantasmi: Il cinema espressionista. Centro sperimentale di cinematografia, 2008.

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3

Coates, Paul. The Gorgon's gaze: German cinema, expressionism, and the image of horror. Cambridge University Press, 1991.

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4

The Gorgon's gaze: German cinema, expressionism, and the image of horror. Cambridge University Press, 1991.

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5

The haunted screen: Expressionism in the German cinema and the influence of Max Reinhardt. University of California Pr., 2008.

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6

Tone, Pier Giorgio. Espressionismo tedesco: La breve grande stagione del cinema degli anni Venti analizzata nei suoi procedimenti tecnico-formali. D. Audino, 2009.

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7

Espressionismo tedesco: La breve grande stagione del cinema degli anni Venti analizzata nei suoi procedimenti tecnico-formali. D. Audino, 2009.

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8

Kurtz, Rudolf. Expressionnisme et cinéma. Presses universitaires de Grenoble, 1986.

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9

Cinéma, imaginaire, ésotérisme: Murnau, Dreyer, Tourneur, Lewin. L'Harmattan, 2003.

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10

100 years of Indian cinema: Artist expressions - paintings, sculptures, and installations. Sarjan Art Gallery, 2013.

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11

Le cinéma expressionniste allemand: Splendeurs d'une collection. Martinière, 2006.

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12

Mapping alternative expressions of blackness in cinema: A horizontal labyrinth of transgeographical practices of identity. Breitinger, 2006.

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13

Expressionism in Cinema. Edinburgh University Press, 2016.

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14

Rhodes, Gary D., and Olaf Brill. Expressionism in the Cinema. Edinburgh University Press, 2017.

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15

Subjective Realist Cinema From Expressionism To Inception. Berghahn Books, 2014.

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16

1944-, Bertetto Paolo, and Toffetti Sergio, eds. Incontro ai fantasmi: Il cinema espressionista. Centro sperimentale di cinematografia, 2008.

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17

Coates, Paul. Gorgon's Gaze: German Cinema, Expressionism, and the Image of Horror. Cambridge University Press, 2008.

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18

Deighan, Samm. M. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325772.001.0001.

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Fritz Lang's first sound feature, M (1931), is one of the earliest serial killer films in cinema history and laid the foundation for future horror movies and thrillers, particularly those with a disturbed killer as protagonist. Peter Lorre's child killer, Hans Beckert, is presented as monstrous, yet sympathetic, building on themes presented in the earlier German Expressionist horror films like The Cabinet of Dr. Caligari and The Hands of Orlac. Lang eerily foreshadowed the rising fascist horrors in German society, and transforms his cinematic Berlin into a place of urban terror and paranoia. T

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19

Ian, Roberts. German Expressionist Cinema: The World of Light and Shadow. Columbia University Press, 2008.

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20

German Expressionist Cinema: The World of Light and Shadow (Short Cuts). Wallflower Press, 2008.

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21

Dobbs, Darris, and Bill Fleming. Animating Facial Features & Expressions. Charles River Media, 1998.

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22

Fraunhar, Alison. Mulata Nation. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496814432.001.0001.

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Mulata Nation traces the figure of the mulata, the woman of mixed racial heritage in Cuban artwork and performance from the colonial era through the modern to the contemporary. While perhaps most widely linked with sensuality and sexual desirability, the mulata also serves as the embodiment of Cuba’s spirituality, and as emblematic of Cuban identity. Through close readings of representations of the mulata in fine and graphic art, mulata performers and the performance of mulata characters at distinct historical and ideological moments, the book claims that far from being a static, flat figure,

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23

Miklitsch, Robert. The Glass Web. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040689.003.0010.

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Since 3-D was originally developed, like CinemaScope, in response to the catastrophic decline of the movie audience, studios were eager to exploit three-dimension and apply it to genres such as the “meller” or “thriller.” Set in the “exotic” world of live TV, featuring a three-dimensional femme fatale, and revolving around the production of a true-crime television show called “Crime of the Week,” The GlassWeb appeared in 1953, the annus mirabilis of 3-D movies. However, despite certain spectacular 3-D passages, the visual style of The Glass Web tends toward the “zero degree,” reflecting the do

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24

Xiao, Ying. China in the Mix. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812605.001.0001.

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Scarce attention has been paid to the dimension of sound and its essential role in constructing image, culture, and identity in Chinese film and media. China in the Mix fills a critical void with an original, pioneering study of the connections and intersections of film, media, music, and popular culture in contemporary China under postsocialist reform, capitalist globalization, and hybridization. It explores fascinating topics, including appropriations of popular folklore in the Chinese new wave of the 1980s; Chinese rock ’n’ roll and youth cinema in fin de siècle China; the political-economi

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25

Gutjahr, Paul C., ed. The Oxford Handbook of the Bible in America. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.001.0001.

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The Oxford Handbook of the Bible in America is designed to address a noticeable void in resources focused on analyzing the Bible in America in specific historical moments and in relationship to specific institutions and cultural expressions. Paying attention to the Bible from its earliest appearance in seventeenth-century New England up through its presence and usage in twenty-first century America, this handbook takes seriously the fact that the Bible is both a physical object that has exercised considerable totemic power, as well as a text with a powerful intellectual design that has inspire

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